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(12/13/25 11:28pm)
With the year coming to a close, it’s always nice to look back at what’s passed. And what a year it’s been, especially in cinema. Some real classics–to–be have graced the screen in an industry that’s seen scares left and right, cementing film’s popularity and standing power in the global consciousness. There have also been a myriad of surprises, as the past year illuminates the growth and reception of anime against the biggest blockbusters.
(12/13/25 7:58pm)
Guillermo del Toro has been in a 25–year situationship with Frankenstein. He’s said it himself: “Frankenstein to me is the pinnacle of everything … I dream I can make the greatest Frankenstein ever, but then if you make it, you've made it. Whether it's great or not, it's done. You cannot dream about it anymore. That’s the tragedy of a filmmaker.” It’s such a painfully romantic thing to admit—that the dream is sometimes sweeter than the execution, that creation always comes with the risk of disappointment, that once you animate the monster you lose the fantasy of what he could have been. It’s deeply Shelleyan, deeply Catholic in the melodramatic sense, and deeply del Toro: he's a man who loves monsters so tenderly he’s almost afraid to touch them.
(12/13/25 10:34pm)
For almost a century, Warner Bros. has been one of Hollywood’s great institutions. It survived the end of the studio system, the rise of television, the streaming wars, and the era where every company tried to buy every other company. But somehow, the most dramatic chapter in its history is the one unfolding right now.
(12/04/25 4:36pm)
We love to flirt with death—at least behind the barrier of the silver screen. Maybe it’s morbid curiosity, maybe it’s catharsis, maybe it’s just good storytelling, but audiences have always been obsessed with the spectacle of survival. “Death game” movies—stories where contestants compete until only one walks out alive—feel aggressively modern, but the instinct behind their success is ancient. The arenas may change, but our fixation doesn’t.
(12/08/25 8:04pm)
In 2025, Hollywood’s most reliable special effect wasn’t CGI—it was cloning its stars. Michael B. Jordan played twin brothers in Sinners. Robert De Niro played rival mobsters in The Alto Knights. Robert Pattinson played a man and his copy in Mickey 17. Theo James faced off against his evil twin in The Monkey. Even Superman found himself doubled, with David Corenswet facing off against his evil clone Ultraman. Add Elle Fanning’s twin act in the newest Predator film and Dylan O’Brien’s bleak comedy Twinless, and it starts to feel less like coincidence and more like obsession.
(12/02/25 2:37pm)
It becomes increasingly difficult to romanticize autumn as the colorful leaves slowly turn brittle, a constant reminder that winter is approaching. But the changing scenery also hints that winter break is inching ever closer, and the anticipation of relaxing, reuniting with friends from home, and reconnecting with family members radiates all across campus. The holiday season is thrilling, but it can also be a stressful time: while bringing everyone together over a delicious meal can be meaningful, it can also unintentionally bring up family tensions and uncomfortable conversations. While it may feel easier to shy away from these uncomfortable interactions, the lighthearted romantic comedy Nobody Wants This reminds us that sometimes it's best to approach them head–on.
(12/02/25 3:52am)
In 1878, English photographer Eadweard Muybridge (yes, that is really how his name is spelled) assembled a series of photos depicting the movements of a horse as it galloped across a stage. Though he didn’t know it at the time, these “electro–photographs” would eventually lead to the development of the first movie camera, paving the way for photography to move from capturing moments to telling stories on screen.
(11/28/25 5:00am)
It’s hard to maintain critical distance from a film when you keep bumping into its director on the street, but Urchin (2025) made that impossible anyway. I immediately saw it a second time while at Cannes, partly because the film was so good and partly because the universe kept throwing Harris Dickinson directly into my path. I ran into him on the Croisette three separate times like some sort of strangely tailored omen, and then capped off the week by getting a photo with Frank Dillane right after he won Best Actor at the Un Certain Regard closing ceremony.
(11/27/25 5:00am)
In Shih–Ching Tsou’s Left–Handed Girl, Taipei glows like a fever dream. It’s a city that never stops selling—night–market snacks, secondhand kitchenware, wholesale jewelry, you name it—but it also trades in the lives of its people. The film’s neon–lit streets and humid night markets form the backdrop for a portrait of working–class womanhood that’s both romantic and devastating.
(12/05/25 5:00am)
We’ve all heard the saying “survive ’til ’25.” And while the entertainment industry may still be asking for more time to heal, there was certainly no shortage of output this year. Whether you prefer the cozy, C418–backed gameplay of Minecraft, you’re a fan of the high–tension lovable ragebait of the Five Nights at Freddy’s franchise, or you adore The Last of Us but find yourself too scared to pick up a controller and play it (though I would encourage you to put on a brave face and try), there is an adaptation for you. Originals also have their moments, with A24 indie darlings putting their stars on the map, family dramas winning the Cannes Grand Prix, and animated musicals about a K–pop girl group topping the film and music charts for months on end. Whatever your preferences, this year had something for everybody—and some of Street’s most chronic Letterboxd users are here to tell you their favorites.
(11/25/25 4:03pm)
Content warning: This article contains mentions of violence towards children that can be disturbing and/or triggering for some readers.
(11/28/25 5:00am)
There was a point this summer when it felt like every weekend belonged to the same studio. Warner Bros. kept dropping films that opened at No. 1, stacking one hit on top of the next until the run became the biggest win streak in recent memory. At the same time, streaming settled into its own rhythm: Apple TV+ pushed itself into the mainstream for the first time. HBO Max reminded everyone why its brand still defines prestige. And almost every major platform, from Netflix to Disney+, exposed the widening gap between streaming ecosystems and the theatrical market they once tried to absorb. The year didn't yield a single victor so much as a set of overlapping successes—one for theaters, one for television, and one for the industry’s sense of identity.
(11/25/25 4:01pm)
Does photorealism make for a good documentary?
(11/10/25 6:00pm)
When will Jordan Peele run out of those distinct one–to–two–word film titles? Nobody knows, but one thing’s for sure: his previous listings (Nope, Get Out, and Us) are hard to forget, and their successes indicate that he isn’t slowing down anytime soon. These films are all widely considered to be era–defining works in the history of Black filmmaking, so there's really no reason to expect a bad film from Peele at present. Hopes were high and held strong when the latest installment in his repertoire, Him, was announced. Except—it wasn’t his film. And the reception of it made clear that people realized that all too late.
(11/12/25 4:58am)
In front of New York’s Bethpage Black Golf Course is an ominous sign that reads: “The Black Course is an extremely difficult course which we only recommend for highly skilled golfers.” What’s already a daunting course, even for the best professional golfers in the world, becomes much harder when the stakes are high—and what stakes could be as high as competing not just for yourself, but also for the pride of an entire continent or country? The Ryder Cup already pushes players to the very limits of their abilities. But this year, another element exacerbated their stress: heckling fans.
(11/24/25 10:58pm)
There’s a moment in It Ends when a car’s headlights catch the glint of something in the trees and James (Phinehas Yoon), the film’s uptight and hyper–rational protagonist, can only say: “We need to keep going.” The others don’t protest. No one knows what’s ahead, but stopping means danger. For anyone else in their twenties right now, it feels painfully familiar. We all keep driving, even if we don’t know what the road before us looks like anymore.
(11/18/25 5:00am)
As “team bonding,” my club gymnastics coach used to force our whole team to participate in Fright Nights—a weekly ritual where we would gather after practice to watch a horror movie and then attempt to leave the gym without being scared to death by each other’s pranks. My teammates and I spent those nights gripping each other’s arms tightly and screaming at any sudden movement. I used to dread them at first, but after a couple of years, I realized they'd become something I looked forward to. I don’t think I could say that I loved watching those movies … but I did love the adrenaline–induced stupor that they left me in.
(11/26/25 5:00am)
When Stranger Things first arrived on Netflix in 2016, it felt immediate—fresh, small–town, 1980s horror with kids on bikes, Eggo waffles, and monsters in the dark. The episodes came fast, and the show became a pop–culture phenomenon almost overnight. But for a series that had such a remarkable first impression, its pace has changed drastically since. By the time its fifth and final season arrives in late 2025, nearly a decade will have passed since the premiere. The show will have delivered a mere five seasons in ten years. For many fans and observers, the question isn’t just “What happens next?” but “What took so long?”
(11/24/25 10:41pm)
Marvel’s upcoming slate reads like both a comeback attempt and a confession. After a stretch of uneven projects and shrinking box office returns, the studio’s 2026 lineup looks like an effort to prove it still knows how to build anticipation. But whether these titles function as a genuine reset or a carefully arranged apology will depend on how much of their ambition translates into coherence.
(10/30/25 2:52pm)
The first trailer for The Mandalorian & Grogu, released in September, should have felt like a victory lap. For years, fans wondered when Din Djarin (Pedro Pascal) and his tiny green apprentice would debut on the big screen. Instead, the first footage from the film landed with a thud. The visuals were crisp, the scale was familiar, but the feeling was faint. It looked less like a movie and more like an extended TV episode—a midseason special that somehow wandered into theaters.
